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dc.contributor.advisorЈованић, Александра
dc.contributor.otherПравдић, Иван
dc.contributor.otherТодоровић, Зоран
dc.contributor.otherВолиц, Светлана
dc.contributor.otherТошковић, Оливер
dc.creatorКомад, Mилијана
dc.date.accessioned2021-03-18T10:04:23Z
dc.date.available2021-03-18T10:04:23Z
dc.date.issued2020-02-26
dc.date.submitted2020-11-03
dc.identifier.urihttp://eteze.arts.bg.ac.rs/handle/123456789/476
dc.identifier.urihttps://nardus.mpn.gov.rs/handle/123456789/18123
dc.description.abstractТело је историјска и друштвена конструкција које се у постмодернизму често представља као комерцијални симбол. Вековима обликовано религијским учењем, оно у прошлом и овом веку трансцендира кроз технолошке реперкусије. Из духовно-телесне дихотомије, уз све већи утицај технологије, ствара се синергија органског и технолошког која рађа нови дуализам људске и вештачке интелигенције. У интеракцији с технологијом, тело се драстично мења при чему људско и вештачко стварају нову парадигму телесности – киборга. Киборг као хибрид људског бића и машине,трaнсформише технологијом људско тело. У трансхуманизму, тело постаје или једноставно јесте информација која се може пренети у бестелесно стање дигиталног простора преношењем/убацивањем у машину. Трансхуманизам тако креира специфична нано-тела којима није граница само „тело“ (као носач, чаура, хард диск...). Тело је застарели концепт кога технологија унапређује ради могућег превладавања. Са успоном технологије појавила се и технофобија, а вештачка интелигенција је прешла из домена научне фантастике у поље реалности, и веома утиче на наше животе. Технофобија се дефинише као ирационалан страх од утицаја технологије на човека и човечанство. Кључ за превазилажење сваког страха лежи у упознавању објекта когa се плашимо. Уколико је реч о страху од технологије, онда говоримо о двема врстама страха: страху од хардвера и страху од софтвера – а они на крају конвергирају у један. Технологија доноси нову еру продуктивности, али и угрожава велики број радних места и ствара ирационалано/рационалну фобију од потенцијалне побуне вештачке интелигенције. Многе књиге, филмови и серије су потпомогле стварању технофобије, с друге стране маркетиншке компаније и брендови су потпомогли стварању зависности од технологије, што и јесте типично за крај 20. и почетак 21. века. Људи против машина и vice versa, да ли је то много буке ни око чега? То је једно од кључних питања која се постављају у овом раду. Савремена технологија мења перцепцију тела где се свакодневно губи Ја, кроз несвестан и аутодеструктиван процес комуникације људи и технологије. Пут којим човечанство неминовно иде је онај који нас води у еру трансхуманизма где се кроз спој технологије и човека губе границе између људског тела и свега што нас окружује у реалности.Кључни део овог рада је приказивање апсурдности ситуације: машина и човек обрнули улоге и машина (вештачка интелигенција) преузела је улогу луткара а човек је постао марионета. Људи данас већином нису ни свесни обрта који се десио, јер смо већ одавно робови технолошког матрикса и то врло сличног оном из филмова тима Варшовски. У овом раду вештачка интелигенција има улогу бића, јер су људи преузели на себе улогу небића, односно оног што је неживо и без воље. Циљ овог рада је да преиспита њихову улогу у стварности, алегоријски посматра губитак битке против машина, и представи како се машине играју са људима контролишићи их.en
dc.description.abstractThe work was created as a product of a long-standing process of studying philosophy and the theory of culture. The inspiration came primarily from the philosopher Jean Baudrillard and his contemplation concerning the theme of Simulation and Simulacrum. Over time, the work has evolved and has been shaped into a final form under the influence of a multimedia artist Stelarc and his relationship towards the body and the transhumanists. The body is a historical and social construction which is perceived as a commercial symbol in the postmodernist perspective. Shaped by religious teachings in the past centuries, the body has transcended through technological repercussions. Bearing in mind the ‘spiritual – physical’ dichotomy, and through progressive technological influence, a synergy of organic and technological creation generates a new dualism of human and artificial intelligence. While interacting with technology, the body drastically changes with human and artificial extravagance of the new paradigm of the body – a cyborg. A cyborg, as a hybrid of human beings and machines, manifests a technological transformation of the human body. In transhumanism, the body becomes or simply is the information that can be transferred to the bodiless state by importing it into the machine. Transhumanism thus creates specific nano-bodies to which only the “body” (a body as a carrier, a cocoon, a hard disk, a CD, a USB ...) The body is perceived as an outdated concept the one that the technology works out and one being developed for the purpose of its improvement and possible overcoming. While technophobia is something that inevitably occurs in parallel with the rise of technology, artificial intelligence has shifted from the domain of science fiction into reality, which definitely has a great impact on our lives. It is defined as an irrational fear of the impact of technology on man and humanity. The key to overcoming any fear lies in getting to know the object we are afraid of. If it comes to fear of technology then we are talking about two types of fear: the fear of hardware and the fear of software - and these two fears eventually converge into one. Technology brings a new era of productivity, but also endangers a large number of jobs and creates an irrational / rational fear of potential rebellion of artificial intelligence. Many books, films, and series have helped in creating technophobia, and thus, it cannot be ignored that marketing companies have supported the creation of technology dependence - which is the end of the 20th and the beginning of the 21st century. People against machines and vice versa, is it making the fuss over nothing? This is one of the key questions I shall pose in this work. One thing is clear, modern technology is changing the perception of the body, where “I” is being lost on a daily basis, through the unconscious and self-destructive process of communication between people and technology. Such an approach introduces us to the era of transhumanism where the blend of technology and man leads to the loss of the boundaries between the human body and everything that surrounds us in reality with the simulation of the same. The thesis is that the dominant field of human progress in the 21st century will be the area of the human body and consciousness. The project is a study of the relationship between a man and a machine, taking as the starting point the two theoretical instances: technophobia, which should be an initial instance and transhumanism as something inevitable to what civilization is going. The work is trying to find out what it looks like when people and machines change sides, i.e. when machines control people. The aim of the performance is to remove the boundaries between an observer and the work, and bring together the synergy of technology and actors, in this case, the random characters that are left to the disposal of artificial intelligence, all rendering the theoretical part of this work. The work should present, a repetitive artistic performance that will give answers to questions that people have been posing since the ancient times: questions of fear, domination, tolerance ... Also, the aim of the work is to explain and emphasize the absurdity of the reality in which we live - the integration of people and machines. The absurdity is reflected in the fact that technology has become an orthopedic without which we cannot exist. In other words, it is our product, but at the same time it molds us and produces what causes us to move more and more into the absolute inertia. One of the main questions that dominates the work is the following one: Is human thought an algorithm derived from software written by the society we live in? The subject of the work should be an incredible journey to meet the simulation of human movements by the algorithm (artificial intelligence) and the devaluation of the body in the process itself. Also, the subject of the analysis is the behavior and reaction of a person to the loss of control during the performance itself. Here, the concept of the body is an important one as well as the materialization of the body, as well as the phenomenon of the body and its commercialization. The idea is to create an original work of art from a standard artistic matrix through a new philosophical, social, political, and scientific approach. The control of men by machines in the artificial way raises many questions. This control and simulation are rendering banal the already open questions. The Cybernette will have a multiple significance, because on the one hand, there will be a distorted reality in the form of manipulations that people are exposed to today from all sides. A banalized act of simulating human movements on humans is in some way absurd, but in a wider context it does not seem to be such. This time, the people involved in the simulation will be aware of the very act of launching without their will - it is actually the absurdity of the situation in which we are for real. The awareness of the unconscious, banalizing the banal and the question that inevitably arises - are we ready to see what the limit of our freedom really is? What do we actually control? Is controlling our limbs really one thing that you control by yourself or freely? The artwork that calls for action and at the same time creates it, is the concept practiced by artists who want to draw attention, convey an idea or emotion. The easiest way to reach all the structures of society is through art. In the race of a man to become a cyborg, to become a new entity, the multiple political importance of work is outlined. The body transmits social norms and values; it is a mirror of the environment in which it develops. In Cybernette, the interactivity of technology and body is reflected in a technological environment that adopts and adopts natural laws in an effort to transform them in an appropriate way. In this context, the body is technologically upgraded for the purpose of its improvement. "An ultimate perspective (and even cybernetic) technology is an extension of the body. It is a functional advancement of a human organism that allows it to be naturally and occupies it. " Naturally, it is no longer unreachable, it is human. Technology is increasingly annihilating the body through the elimination of its limitations. It becomes a part of every segment of human life and changes it from the root. It begins to be unclear what nature is, when it is impossible to exclude all artifacts from it. By sensing the body as a complex form, the technology modifies it. The coexistence of artificial and human predicts the post-human era in which the body is no longer necessary. We are at a critical juncture between people and something called Transhumanism - on the verge of deciding whether we will be humans or machines of cyborgs. It is up to us to make the decision whether we will end up completely under the forms of globalization (in which we have already deeply got stuck) or that we are still in the fear of the machine while postponing inevitably and trying to resist.en
dc.language.isoscen
dc.publisherУниверзитет уметности у Београду, Интердисциплинарне студије Универзитета уметностиsr
dc.rightsopenAccessen
dc.sourceУниверзитет уметности у Београдуsr
dc.subjectтелоen
dc.subjectвештачка интелигенцијаen
dc.subjectтрансхуманизамen
dc.subjectтехнофобијаen
dc.subjectкиборг/кибернетикаen
dc.subjectсимулацијаen
dc.subjectдигиталноen
dc.subjectсубјекатen
dc.subjectнељудскоen
dc.subjectтехноидентитет...en
dc.title„CYBERNETTE - перформативни сусрет човека и вештачке интелигенције од технофобије до трансхуманизма“en
dc.typeProjecten
dc.identifier.fulltexthttp://nardus.mpn.gov.rs/bitstream/id/70123/Izvestaj komisije za ocenu i odbranu DUP Milijana Komad.pdf
dc.identifier.fulltexthttp://nardus.mpn.gov.rs/bitstream/id/70122/Милијана Комад уметнички докторски пројекат Cybernette.pdf
dc.identifier.rcubhttps://hdl.handle.net/21.15107/rcub_nardus_18123


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